Editing Jerome Kern (section)

==Biography==

===Early life===
Kern was born in New York City, on [[Sutton Place, Manhattan|Sutton Place]], in what was then the city's brewery district.<ref name=nyt>[https://www.nytimes.com/learning/general/onthisday/bday/0127.html "Jerome Kern Dies; Noted Composer, 60"] {{Webarchive|url=https://web.archive.org/web/20200607182051/https://www.nytimes.com/section/learning |date=June 7, 2020 }}. ''The New York Times'', November 12, 1945</ref> His parents were Henry Kern (1842–1908), a Jewish German immigrant, and Fannie Kern ''née'' Kakeles (1852–1907), who was an American Jew of [[Bohemia]]n parentage.<ref name=baker>Slonimsky, Nicholas and Laura Kuhn (ed). [http://bakr.alexanderstreet.com/View/673896 Kern, Jerome (David)"] {{Webarchive|url=https://web.archive.org/web/20110707104617/http://bakr.alexanderstreet.com/View/673896 |date=July 7, 2011 }}. ''Baker's Biographical Dictionary of Musicians'', Volume 3 (Schirmer Reference, New York, 2001), accessed May 10, 2010 (requires subscription)</ref> <!--"They named him Jerome because they lived near Jerome Park (named after [[Winston Churchill]]'s grandfather, [[Leonard Jerome]]), a favorite place of theirs." IS THERE A RELIABLE CITATION TO SHOW THAT THIS IS WHY HE WAS NAMED JEROME? --> At the time of Kern's birth, his father ran a [[Livery yard|livery stable]]; later he became a successful merchant.<ref name=baker/> Kern grew up on East 56th Street in [[Manhattan]], where he attended public schools. He showed an early aptitude for music and was taught to play the piano and organ by his mother, a professional player and teacher.<ref name=grove>Byrnside, Ronald and [[Andrew Lamb (writer)|Andrew Lamb]]. [http://www.oxfordmusiconline.com/subscriber/article/grove/music/14917?q=jerome+kern&source=omo_epm&source=omo_t237&source=omo_gmo&source=omo_t114&search=quick&pos=1&_start=1#firsthit "Kern, Jerome (David)"] {{Webarchive|url=https://web.archive.org/web/20200531065116/http://www.oxfordmusiconline.com/subscriber/article/grove/music/14917?q=jerome+kern&source=omo_epm&source=omo_t237&source=omo_gmo&source=omo_t114&search=quick&pos=1&_start=1#firsthit |date=May 31, 2020 }}. ''Grove Online'', Oxford Music Online, accessed May 10, 2010 (requires subscription).</ref>

In 1897, the family moved to [[Newark, New Jersey]], where Kern attended Newark High School (which became [[Barringer High School]] in 1907). He wrote songs for the school's first musical, a [[minstrel show]], in 1901, and for an amateur musical adaptation of ''[[Uncle Tom's Cabin]]'' put on at the Newark Yacht Club in January 1902.<ref name=baker/> Kern left high school before graduation in the spring of his senior year in 1902. In response, Kern's father insisted that his son work with him in business, instead of composing. Kern, however, failed miserably in one of his earliest tasks: he was supposed to purchase two pianos for the store, but instead he ordered 200.<ref>[http://www.guidetomusicaltheatre.com/biographies/kernjerome.htm Jerome Kern] {{Webarchive|url=https://web.archive.org/web/20181009095601/http://www.guidetomusicaltheatre.com/biographies/kernjerome.htm |date=October 9, 2018 }} at GuidetoMusicalTheatre.com, accessed May 17, 2010</ref> His father relented, and later in 1902, Kern became a student at the [[New York College of Music]], studying the piano under Alexander Lambert and Paolo Gallico, and harmony under Dr. Austin Pierce.<ref name=who/> His first published composition, a piano piece, ''At the Casino'', appeared in the same year. Between 1903 and 1905, he continued his musical training under private tutors in [[Heidelberg]], Germany, returning to New York via London.<ref name=grove/><ref name=who>[http://www.ukwhoswho.com/view/article/oupww/whowaswho/U227709/KERN_Jerome?index=1&results=QuicksearchResults&query=0 "Kern, Jerome David"]. ''Who Was Who'', accessed May 10, 2010 (requires subscription)</ref>

===First compositions===
[[File:Angela Lansbury in Till the Clouds Roll By.jpg|left|thumb|[[Angela Lansbury]] sings "How'd you like to spoon with me?" in ''[[Till the Clouds Roll By]]'' (1946)]]
For a time, Kern worked as a rehearsal pianist in [[Broadway theatre|Broadway]] theatres and as a [[song-plugger]] for [[Tin Pan Alley]] music publishers. While in London, he secured a contract from the American impresario [[Charles Frohman]] to provide songs for interpolation in Broadway versions of London shows.  He began to provide these additions in 1904 to British scores for ''An English Daisy'', by [[Seymour Hicks]] and [[Walter Slaughter]], and ''Mr. Wix of Wickham'', for which he wrote most of the songs.<ref>Bordman, Gerald and Thomas Hischak, eds. [http://www.oxfordreference.com/views/ENTRY.html?subview=Main&entry=t149.e1700 "Kern, Jerome (David)"]. ''The Oxford Companion to American Theatre'', third edition, Oxford University Press 2004. Oxford Reference Online, accessed May 15, 2010 (requires subscription)</ref>

In 1905, Kern contributed the song "How'd you like to spoon with me?" to [[Ivan Caryll]]'s hit [[Edwardian musical comedy|musical]] ''[[The Earl and the Girl]]'' when the show transferred to Chicago and New York in 1905.<ref name=grove/>  He also contributed to the New York production of ''[[The Catch of the Season]]'' (1905), ''The Little Cherub'' (1906) and ''[[The Orchid]]'' (1907), among other shows.<ref>Banfield, p. 11</ref> From 1905 on, he spent long periods of time in London, contributing songs to [[West End theatre|West End]] shows like ''[[The Beauty of Bath]]'' (1906; with lyricist [[P. G. Wodehouse]]) and making valuable contacts, including [[George Grossmith Jr.]] and Seymour Hicks, who were the first to introduce Kern's songs to the London stage.<ref name=grove/>  In 1909 during one of his stays in England, Kern took a boat trip on the [[River Thames]] with some friends, and when the boat stopped at [[Walton-on-Thames]], they went to an inn called the Swan for a drink.  Kern was much taken with the proprietor's daughter, Eva Leale (1891–1959), who was working behind the bar.  He wooed her, and they were married at the [[Anglican]] church of St. Mary's in Walton on October 25, 1910.  The couple then lived at the Swan when Kern was in England.<ref>Banfield, pp. 13-14; Blackman, p. 10; and [http://www.swanwalton.com Official website] {{Webarchive|url=https://web.archive.org/web/20230322022801/http://www.swanwalton.com/ |date=March 22, 2023 }}. The Swan at Walton-on-Thames, History, accessed May 12, 2010.</ref>

[[File:Mind the Paint.pdf|thumb|right|upright|[[Billie Burke]], for whom Kern wrote stage and screen music]]
Kern is believed to have composed music for [[silent film]]s as early as 1912, but the earliest documented film music which he is known to have written was for a twenty-part serial, ''[[Gloria's Romance]]'' in 1916.<ref name=banfield50/>  This was one of the first starring vehicles for [[Billie Burke]], for whom Kern had earlier written the song "Mind the Paint", with lyrics by [[Arthur Wing Pinero|A. W. Pinero]].  The film is now considered [[lost film|lost]], but Kern's music survives.  Another score for the silent movies, ''Jubilo'', followed in 1919.<ref name=banfield50>Banfield, p. 50</ref> Kern was one of the founding members of [[ASCAP]].<ref name=who/>

Kern's first complete score was Broadway's ''[[The Red Petticoat]]'' (1912), one of the first musical-comedy Westerns.  The libretto was by [[Rida Johnson Young]].  By [[World War I]], more than a hundred of Kern's songs had been used in about thirty productions, mostly Broadway adaptations of West End and European shows.  Kern contributed two songs to ''[[To-Night's the Night (musical)|To-Night's the Night]]'' (1914), another Rubens musical.  It opened in New York and went on to become a hit in London.  The best known of Kern's songs from this period is probably "[[They Didn't Believe Me]]", which was a hit in the New York version of the [[Paul Rubens (composer)|Paul Rubens]] and [[Sidney Jones (composer)|Sidney Jones]] musical, ''[[The Girl from Utah]]'' (1914), for which Kern wrote five songs.<ref name=grove/> Kern's song, with four beats to a bar, departed from the customary [[waltz]]-rhythms of European influence and fitted the new American passion for modern dances such as the [[fox-trot]].  He was also able to use elements of American styles, such as ragtime, as well as syncopation, in his lively dance tunes.<ref name=bordman>Bordman, Gerald. "Jerome David Kern, Innovator/Traditionalist", ''The Musical Quarterly'', Volume 71, no. 4, April 1985, pp. 468-73</ref> Theatre historian [[John Kenrick (theatre writer)|John Kenrick]] writes that the song put Kern in great demand on Broadway and established a pattern for musical comedy love songs that lasted through the 1960s.<ref>Kenrick, John.  [http://www.musicals101.com/1910bway.htm "Jerome Kern: 'They Didn't Believe Me'"] {{Webarchive|url=https://web.archive.org/web/20181009095512/http://www.musicals101.com/1910bway.htm |date=October 9, 2018 }}, ''History of The Musical Stage, 1910-1919: Part I'', The Cyber Encyclopedia of Musical Theatre, TV and Film (2008)</ref>

In May 1915, Kern was due to sail with Charles Frohman from New York to London on board the [[RMS Lusitania|RMS ''Lusitania'']], but Kern missed the boat, having overslept after staying up late playing poker.<ref>Denison, pp. 21–22; and McLean, p. 98</ref>   Frohman died in the sinking of the ship.<ref>[https://query.nytimes.com/gst/abstract.html?res=9E0CE5DE1F3EE733A0575AC0A9639C946496D6CF "Theatre District Mourns Frohman"] {{Webarchive|url=https://web.archive.org/web/20160305114025/https://query.nytimes.com/gst/abstract.html?res=9E0CE5DE1F3EE733A0575AC0A9639C946496D6CF |date=March 5, 2016 }}. ''The New York Times'', May 9, 1915, p. 3</ref>

===Princess Theatre musicals===
[[File:Jerome-Kern-1918.jpg|thumb|left|upright|Jerome Kern in 1918]]
Kern composed 16 Broadway scores between 1915 and 1920 and also contributed songs to the London hit ''[[Theodore & Co]]'' (1916; most of the songs are by the young [[Ivor Novello]]) and to revues like the [[Ziegfeld Follies]].  The most notable of his scores were those for a series of shows written for the [[Princess Theatre, New York City|Princess Theatre]], a small (299-seat) house built by [[Ray Comstock]].  Theatrical agent [[Elisabeth Marbury]] asked Kern and librettist [[Guy Bolton]] to create a series of intimate and low-budget, yet smart, musicals.<ref name=bordman/>

The "Princess Theatre shows" were unique on Broadway not only for their small size, but their clever, coherent plots, integrated scores and naturalistic acting, which presented "a sharp contrast to the large-scale [[Ruritania]]n operettas then in vogue"<ref name=grove/> or the star-studded [[revue]]s and extravaganzas of producers like [[Florenz Ziegfeld]].  Earlier [[Edwardian musical comedy|musical comedy]] had often been thinly plotted, gaudy pieces, marked by the insertion of songs into their scores with little regard to the plot.  But Kern and Bolton followed the examples of [[Gilbert and Sullivan]] and French ''[[opéra bouffe]]'' in integrating song and story.  "These shows built and polished the mold from which almost all later major musical comedies evolved.  ... The characters and situations were, within the limitations of musical comedy license, believable and the humor came from the situations or the nature of the characters.  Kern's exquisitely flowing melodies were employed to further the action or develop characterization."<ref name=bordman/>  The shows featured modern American settings and simple scene changes to suit the small theatre.<ref name=Kenrick>Kenrick, John. [http://www.musicals101.com/1910bway.htm ''History of The Musical Stage 1910-1919: Part I''] {{Webarchive|url=https://web.archive.org/web/20181009095512/http://www.musicals101.com/1910bway.htm |date=October 9, 2018 }}, accessed May 11, 2010</ref>

[[File:An Old-Fashioned Wife cover.jpg|thumb|right|upright|Sheet music from [[Oh, Boy! (musical)|''Oh Boy!'']]]]
The team's first Princess Theatre show was an adaptation of Paul Rubens' 1905 London show, ''Mr. Popple (of Ippleton)'', called ''Nobody Home'' (1915).<ref name=grove/>  The piece ran for 135 performances and was a modest financial success.<ref name=baker/>  However, it did little to fulfill the new team's mission to innovate, except that Kern's song, "The Magic Melody", was the first Broadway showtune with a basic [[jazz]] progression.<ref name=bordman/>  Kern and Bolton next created an original piece, ''[[Very Good Eddie]]'', which was a surprise hit, running for 341 performances, with additional touring productions that went on into the 1918-19 season.<ref name=baker/>  The British humorist, lyricist and librettist P. G. Wodehouse joined the Princess team in 1917, adding his skill as a lyricist to the succeeding shows. ''[[Oh, Boy! (musical)|Oh, Boy!]]'' (1917) ran for an extraordinary 463 performances.<ref name=Bloom>Bloom and Vlastnik, pp. 230–31</ref><ref>''Oh, Boy!'' was staged in London as ''Oh, Joy!'' in 1919 at the [[Novelty Theatre|Kingsway Theatre]], where it ran for 167 performances: see Jasen, p. 279</ref>  Other shows written for the theatre were ''Have a Heart'' (1917), ''[[Leave It to Jane]]'' (1917)<ref>Because ''Oh Boy!'' was a hit at the Princess, ''Leave It to Jane'' opened at the [[Longacre Theatre]] instead.</ref>  and ''[[Oh, Lady! Lady!!]]'' (1918).<ref>{{Cite web|url=http://archive.org/details/ohladylady00kernj|title=Oh, Lady! Lady!|first1=Jerome|last1=Kern|first2=Guy|last2=Bolton|first3=P. G. (Pelham Grenville)|last3=Wodehouse|date=October 8, 1918|publisher=New York : T.B. Harms|website=Archive.org|access-date=October 8, 2019}}</ref>  The first opened at another theatre before ''Very Good Eddie'' closed.  The second played elsewhere during the long run of ''Oh Boy!''<ref name=bordman/>  An anonymous admirer wrote a verse in their praise<ref>The poem is patterned after "[[Baseball's Sad Lexicon]]", about the [[Chicago Cubs]]' infield. See Frankos, Laura. [http://www.nypl.org/blog/2012/08/27/musical-month-oh-boy "Musical of the Month: ''Oh, Boy!''"] {{Webarchive|url=https://web.archive.org/web/20151101013625/http://www.nypl.org/blog/2012/08/27/musical-month-oh-boy |date=November 1, 2015 }}, [[New York Public Library]], August 27, 2012, accessed September 11, 2015</ref> that begins:
[[File:Not Yet cover.jpg|right|thumb|upright|Sheet music from ''[[Oh, Lady! Lady!!]]'']]
{{poemquote|
This is the trio of musical fame,
Bolton and Wodehouse and Kern.
Better than anyone else you can name
Bolton and Wodehouse and Kern.<ref>Steyn, Mark. "Musical debt to a very good Guy", ''[[The Times]]'', November 28, 1984, p. 12</ref>}}

In February 1918, [[Dorothy Parker]] wrote in ''[[Vanity Fair (American magazine 1913-1936)|Vanity Fair]]'':
{{blockquote|Well, Bolton and Wodehouse and Kern have done it again. Every time these three gather together, the Princess Theatre is sold out for months in advance. You can get a seat for ''Oh, Lady! Lady!!'' somewhere around the middle of August for just about the price of one on the stock exchange. If you ask me, I will look you fearlessly in the eye and tell you in low, throbbing tones that it has it over any other musical comedy in town. But then Bolton and Wodehouse and Kern are my favorite indoor sport. I like the way they go about a musical comedy. ... I like the way the action slides casually into the songs. ... I like the deft rhyming of the song that is always sung in the last act by two comedians and a comedienne.  And oh, how I do like Jerome Kern's music.  And all these things are even more so in ''Oh, Lady! Lady!!'' than they were in ''Oh, Boy!'' <ref>''quoted'' in Green, Benny, p. 110</ref>}}

''Oh, Lady! Lady!!'' was the last successful "Princess Theatre show".  Kern and Wodehouse disagreed over money, and the composer decided to move on to other projects.<ref>Suskin, Steven. [https://books.google.com/books?id=Z_usBBxC_TQC&q=Kern+wodehouse+%22Princess+Theatre%22+%22Lady+Lady%22+%22continued+to+work+individually+with+Bolton%22&pg=PA10 ''Show tunes: the songs, shows, and careers of Broadway's major composers''] {{Webarchive|url=https://web.archive.org/web/20230628064043/https://books.google.com/books?id=Z_usBBxC_TQC&q=Kern+wodehouse+%22Princess+Theatre%22+%22Lady+Lady%22+%22continued+to+work+individually+with+Bolton%22&pg=PA10 |date=June 28, 2023 }}. Oxford University Press U.S., 2000,  p. 10 {{ISBN|0-19-512599-1}}</ref>  Kern's importance to the partnership was illustrated by the fate of the last musical of the series, ''Oh, My Dear!'' (1918), to which he contributed only one song: "Go, Little Boat". The rest of the show was composed by [[Louis Hirsch]] and ran for 189 performances: "Despite a respectable run, everyone realized there was little point in continuing the series without Kern."<ref name=Kenrick/>

===Early 1920s===
[[File:Marilyn Miller LCCN2014712670 (cropped).jpg|right|thumb|upright|[[Marilyn Miller]], the star of ''[[Sally (musical)|Sally]]'']]
The 1920s were an extremely productive period in American musical theatre, and Kern created at least one show every year for the entire decade. His first show of 1920 was ''[[The Night Boat]]'', with book and lyrics by [[Anne Caldwell]], which ran for more than 300 performances in New York and for three seasons on tour.<ref name=baker/>  Later in the same year, Kern wrote the score for ''[[Sally (musical)|Sally]]'', with a book by Bolton and lyrics by [[Otto Harbach]].  This show, staged by Florenz Ziegfeld, ran for 570 performances, one of the longest runs of any Broadway show in the decade, and popularized the song "[[Look for the Silver Lining]]" (which had been written for an earlier show), performed by the rising star [[Marilyn Miller]].  It also had a long run in London in 1921, produced by [[George Grossmith Jr.]]<ref name=baker/>  Kern's next shows were ''Good Morning, Dearie'' (1921, with Caldwell) which ran for 347 performances; followed in 1922 by a West End success, ''[[The Cabaret Girl]]'' in collaboration with Grossmith and Wodehouse;<ref>''[[The Observer]]'', September 24, 1922, p. 11</ref> another modest success by the same team, ''[[The Beauty Prize]]'' (1923); and a Broadway flop, ''[[The Bunch and Judy]]'', remembered, if at all, as the first time Kern and [[Fred Astaire]] worked together.<ref name=baker/>

''[[Stepping Stones (musical)|Stepping Stones]]'' (1923, with Caldwell) was a success, and in 1924 the Princess Theatre team of Bolton, Wodehouse and Kern reunited to write ''Sitting Pretty'', but it did not recapture the popularity of the earlier collaborations.<ref name=oepm>[http://www.oxfordmusiconline.com:80/subscriber/article/epm/14926 "Kern, Jerome"]. ''Encyclopedia of Popular Music'', Oxford Music Online, accessed May 11, 2010 (requires subscription)</ref>  Its relative failure may have been partly due to Kern's growing aversion to having individual songs from his shows performed out of context on radio, in cabaret, or on record, although his chief objection was to jazz interpretations of his songs.{{Citation needed|date=January 2017}} He called himself a "musical clothier – nothing more or less," and said, "I write music to both the situations and the lyrics in plays."<ref name=nyt/>  When ''Sitting Pretty'' was produced, he forbade any broadcasting or recording of individual numbers from the show, which limited their chance to gain popularity.<ref name=baker/>

1925 was a major turning point in Kern's career when he met [[Oscar Hammerstein II]], with whom he would entertain a lifelong friendship and collaboration. As a young man, Kern had been an easy companion with great charm and humor, but he became less outgoing in his middle years, sometimes difficult to work with: he once introduced himself to a producer by saying, "I hear you're a son of a bitch.  So am I."<ref>Steyn, Mark. "Melodies that will always linger on", ''The Times'', January 22, 1985, p. 14</ref> He rarely collaborated with any one lyricist for long. With Hammerstein, however, he remained on close terms for the rest of his life.<ref name=grove/>  Their first show, written together with Harbach, was ''[[Sunny (musical)|Sunny]]'', which featured the song "[[Who? (song)|Who (Stole My Heart Away)?]]" Marilyn Miller played the title role, as she had in ''Sally''.<ref name=oepm/> The show ran for 517 performances on Broadway, and the following year ran for 363 performances in the West End, starring [[Binnie Hale]] and [[Jack Buchanan]].<ref>Kenrick, John. [http://www.musicals101.com/1920bway.htm "Keep the Sun Smilin' Through"] {{Webarchive|url=https://web.archive.org/web/20230630024951/http://www.musicals101.com/1920bway.htm |date=June 30, 2023 }}. ''History of The Musical Stage'', accessed May 11, 2010</ref>

===''Show Boat''===
[[File:Hammerstein.jpg|thumb|left|150px|[[Oscar Hammerstein II]], one of Kern's chief collaborators]] 
Because of the strong success of ''Sally'' and ''Sunny'' and consistent good results with his other shows, Ziegfeld was willing to gamble on Kern's next project in 1927. Kern had been impressed by [[Edna Ferber]]'s novel ''[[Show Boat (novel)|Show Boat]]'' and wished to present a musical stage version.<ref name=nyt/> He persuaded Hammerstein to adapt it and Ziegfeld to produce it. The story, dealing with racism, marital strife and alcoholism, was unheard of in the escapist world of musical comedy. Despite his doubts, Ziegfeld spared no expense in staging the piece to give it its full epic grandeur. According to the theatre historian John Kenrick: "After the opening night audience filed out of the Ziegfeld Theatre in near silence, Ziegfeld thought his worst fears had been confirmed. He was pleasantly surprised when the next morning brought ecstatic reviews and long lines at the box office. In fact, ''Show Boat'' proved to be the most lasting accomplishment of Ziegfeld's career – the only one of his shows that is regularly performed today."<ref name=kenrickshowboat>Kenrick, John. [http://www.musicals101.com/1920bway5.htm "Three Landmarks"] {{Webarchive|url=https://web.archive.org/web/20230718135717/http://www.musicals101.com/1920bway5.htm |date=July 18, 2023 }}. ''History of The Musical Stage'', accessed May 11, 2010</ref> The score is, arguably, Kern's greatest and includes the well-known songs "[[Ol' Man River]]" and "[[Can't Help Lovin' Dat Man]]" as well as "[[Make Believe (Jerome Kern song)|Make Believe]]", "[[You Are Love]]", "Life Upon the Wicked Stage", "Why Do I Love You", all with lyrics by Hammerstein, and "[[Bill (Show Boat)|Bill]]", originally written for ''Oh, Lady! Lady!'', with lyrics by P. G. Wodehouse.<ref>Green, Kay, p. 26</ref> The show ran for 572 performances on Broadway and was also a success in London.<ref name=kenrickshowboat/><ref>The London production overcame a tepid review in ''The Times'' (May 4, 1928, p. 14) which praised the scenery at the expense of everything else, and barely mentioned Kern's music.</ref> Although Ferber's novel was filmed unsuccessfully as a [[part-talkie]] in 1929 (using some songs from the Kern score), the musical itself was filmed twice, in [[Show Boat (1936 film)|1936]], and, with [[Technicolor]], in [[Show Boat (1951 film)|1951]].<ref>''The Times'', September 16, 1929, p. 10; June 11, 1936; and June 15, 1951, p. 6</ref> In 1989, a stage version of the musical was presented on television for the first time, in a production from the [[Paper Mill Playhouse]] telecast by [[PBS]] on ''[[Great Performances]]''.<ref>{{Cite web|url=http://www.imdb.com/title/tt0201928/|title=Show Boat|website=IMDb.com|access-date=July 16, 2010|archive-date=April 24, 2009|archive-url=https://web.archive.org/web/20090424233243/http://www.imdb.com/title/tt0201928/|url-status=live}}</ref>

While most Kern musicals have largely been forgotten, except for their songs, ''Show Boat'' remains well-remembered and frequently seen. It is a staple of stock productions and has been revived numerous times on Broadway and in London.  A 1946 revival integrated choreography into the show, in the manner of a [[Rodgers and Hammerstein]] production, as did the 1994 [[Harold Prince]]–[[Susan Stroman]] revival, which was nominated for ten [[Tony Awards]], winning five, including best revival. It was the first musical to enter a major opera company's repertory (New York City Opera, 1954), and the rediscovery of the 1927 score with [[Robert Russell Bennett]]'s original orchestrations led to a large-scale [[EMI Classics|EMI]] recording in 1987 and several opera-house productions.<ref name=grove/> In 1941, the conductor [[Artur Rodziński]] wished to commission a symphonic suite from the score, but Kern considered himself a songwriter and not a symphonist. He never orchestrated his own scores, leaving that to musical assistants, principally Frank Saddler (until 1921) and [[Robert Russell Bennett]] (from 1923).<ref name=grove/> In response to the commission, Kern oversaw an arrangement by Charles Miller and Emil Gerstenberger of numbers from the show into the orchestral work ''Scenario for Orchestra: Themes from Show Boat'', premiered in 1941 by the [[Cleveland Orchestra]] conducted by Rodziński.<ref name=nyt/><ref name=baker/>

[[File:Kathryn Grayson in Show Boat trailer.jpg|thumb|right|200px|1951 film version of Kern and Hammerstein's ''[[Show Boat (1951 film)|Show Boat]]'']]
Kern's last Broadway show in the 1920s was ''[[Sweet Adeline (musical)|Sweet Adeline]]'' (1929), with a libretto by Hammerstein.  It was a period piece, set in the Gay 90s, about a girl from [[Hoboken, New Jersey]] (near Kern's childhood home), who becomes a Broadway star.  Opening just before the stock market crash, it received rave reviews, but the elaborate, old-fashioned piece was a step back from the innovations in ''Show Boat'', or even the Princess Theatre shows.<ref>Brantley, Ben. [http://theater.nytimes.com/mem/theater/treview.html(PLAY)&pdate=19970215&byline=By%20BEN%20BRANTLEY&id=1077011431622 "In the Wake of 'Showboat,' a Showcase for Voice"]. ''The New York Times'',  February 15, 1997, accessed May 14, 2001</ref>  In January 1929, at the height of the [[Jazz Age]], and with ''Show Boat'' still playing on Broadway, Kern made news on both sides of the Atlantic for reasons wholly unconnected with music. He sold at auction, at New York's [[Anderson Galleries]], the collection of English and American literature that he had been building up for more than a decade. The collection, rich in inscribed first editions and manuscript material of eighteenth and nineteenth century authors, sold for a total of $1,729,462.50 ({{Inflation|US|1729462|1929|r=0|fmt=eq}}) – a record for a single-owner sale that stood for over fifty years. Among the books he sold were first or early editions of poems by [[Robert Burns]] and [[Percy Bysshe Shelley]], and works by [[Jonathan Swift]], [[Henry Fielding]] and [[Charles Dickens]], as well as manuscripts by [[Alexander Pope]], [[John Keats]], Shelley, [[George Gordon Byron, 6th Baron Byron|Lord Byron]], [[Thomas Hardy]] and others.<ref name=nyt/><ref>"The Sale Room", ''The Times'', October 20, 1928, p. 14</ref><ref name=times>"Obituary, Mr. Jerome Kern", ''The Times'', February 17, 1947, p. 8</ref>

===First films and later shows===
In 1929 Kern made his first trip to [[Hollywood, Los Angeles|Hollywood]] to supervise the [[Sally (1929 film)|1929 film version of ''Sally'']], one of the first "all-talking" Technicolor films. The following year, he was there a second time to work on ''[[Men of the Sky (1931 film)|Men of the Sky]]'', released in 1931 without his songs, and a [[Sunny (1930 film)|1930 film version of ''Sunny'']].<ref name=baker/>  There was a public reaction against the early glut of film musicals after the advent of film sound; Hollywood released more than 100 musical films in 1930, but only 14 in 1931.<ref>[http://www.musicals101.com/1930film.htm "History of Musical Film, 1930s: Part I: 'Hip, Hooray and Ballyhoo'"] {{Webarchive|url=https://web.archive.org/web/20161215151753/http://www.musicals101.com/1930film.htm |date=December 15, 2016 }}. Musicals101.com, 2003, accessed May 17, 2010</ref> [[Warner Bros.]] bought out Kern's contract, and he returned to the stage.<ref name=baker/>  He collaborated with Harbach on the Broadway musical ''[[The Cat and the Fiddle (musical)|The Cat and the Fiddle]]'' (1931), about a composer and an opera singer, featuring the songs "[[She Didn't Say Yes]]" and "The Night Was Made for Love".  It ran for 395 performances, a remarkable success for the Depression years, and transferred to London the following year.<ref>''The Observer,'' March 6, 1932, p. 9</ref>  It was filmed in 1934 with [[Jeanette MacDonald]].

''[[Music in the Air]]'' (1932) was another Kern-Hammerstein collaboration and another show-biz plot, best remembered today for "[[The Song Is You]]" and "[[I've Told Ev'ry Little Star]]". It was "undoubtedly an operetta", set in the German countryside, but without the Ruritanian trimmings of the operettas of Kern's youth.<ref>Banfield, p. 221</ref> ''[[Roberta (musical)|Roberta]]'' (1933) by Kern and Harbach included the songs "[[Smoke Gets in Your Eyes]]", "[[Let's Begin]]" and "[[Yesterdays (1933 song)|Yesterdays]]" and featured, among others, [[Bob Hope]], [[Fred MacMurray]], [[George Murphy]] and [[Sydney Greenstreet]] all in the early stages of their careers. Kern's ''[[Three Sisters (musical)|Three Sisters]]'' (1934), was his last West End show, with a libretto by Hammerstein. The musical, depicting horse-racing, the circus, and class distinctions, was a failure, running for only two months. Its song "[[I Won't Dance]]" was used in the film ''[[Roberta (1935 film)|Roberta]]''.<ref>Banfield p. 219</ref><ref>''The Observer'', April 15, 1934, p. 17</ref> Some British critics objected to American writers essaying a British story;<ref>Harvey, Dennis. [https://www.variety.com/review/VE1117910503.html?categoryid=33&cs=1 "Three Sisters"]. ''Variety'', November 27, 1995, accessed May 14, 2010</ref> [[James Agate]], doyen of London theatre critics of the day, dismissed it as "American inanity,"<ref>Banfield, p. 224</ref> though both Kern and Hammerstein were strong and knowledgeable Anglophiles.<ref>Banfield comments in this context, "Hammerstein had, after all, spent far more time in and around London than he ever did in Oklahoma": Banfield, p. 224</ref> Kern's last Broadway show (other than revivals) was ''[[Very Warm for May]]'' (1939), another show-biz story and another disappointment, although the score included the Kern and Hammerstein classic "[[All The Things You Are]]".<ref name=oepm/>

===Kern in Hollywood===
In 1935, when musical films had become popular once again, thanks to [[Busby Berkeley]],<ref>Kenrick, John. [http://www.musicals101.com/1930film2.htm "History of Musical Film, 1930s Part II"] {{Webarchive|url=https://web.archive.org/web/20230407133945/http://www.musicals101.com/1930film2.htm |date=April 7, 2023 }}. Musicals101.com, 2004, accessed May 17, 2010</ref> Kern returned to Hollywood, where he composed the scores to a dozen more films, although he also continued working on Broadway productions. He settled permanently in Hollywood in 1937.<ref>Banfield, p. 55</ref> After suffering a heart attack in 1939, he was told by his doctors to concentrate on film scores, a less stressful task, as Hollywood songwriters were not as deeply involved with the production of their works as Broadway songwriters. This second phase of Kern's Hollywood career had considerably greater artistic and commercial success than the first.  With Hammerstein, he wrote songs for the film versions of his recent Broadway shows ''Music in the Air'' (1934), which starred [[Gloria Swanson]] in a rare singing role, and ''Sweet Adeline'' (1935).  With [[Dorothy Fields]], he composed the new music for ''[[I Dream Too Much (1935 film)|I Dream Too Much]]'' (1935), a musical melodrama about the opera world, starring the [[Metropolitan Opera]] diva [[Lily Pons]].  Kern and Fields interspersed the opera numbers with their songs, including "the swinging 'I Got Love,' the lullaby 'The Jockey on the Carousel,' and the entrancing title song."<ref>Hischak, Thomas. [http://www.oxfordreference.com/views/ENTRY.html?subview=Main&entry=t282.e891 "I Dream Too Much"]. ''The Oxford Companion to the American Musical'', Oxford University Press 2009. Oxford Reference Online, accessed  May 15, 2010 (requires subscription)</ref>  Also with Fields, he wrote two new songs, "[[I Won't Dance]]" and "Lovely to Look At", for the Fred Astaire and [[Ginger Rogers]] film version of ''[[Roberta (1935 film)|Roberta]]'' (1935), which was a hit.  The show also included the song "[[I'll Be Hard to Handle]]".  This was given a 1952 remake called ''[[Lovely to Look At]]''.<ref>Hischak, Thomas. [http://www.oxfordreference.com/views/ENTRY.html?subview=Main&entry=t282.e1539-s1 "Roberta"]. ''The Oxford Companion to the American Musical'', Oxford University Press 2009, Oxford Reference Online, accessed May 15, 2010 (requires subscription)</ref>

Their next film, ''[[Swing Time (film)|Swing Time]]'' (1936) included the song "[[The Way You Look Tonight]]", which won the [[Academy Awards|Academy Award]] in 1936 for the best song. Other songs in ''Swing Time'' include "[[A Fine Romance (song)|A Fine Romance]]", "[[Pick Yourself Up]]" and "[[Never Gonna Dance (song)|Never Gonna Dance]]". ''The Oxford Companion to the American Musical'' calls ''Swing Time'' "a strong candidate for the best of the Fred Astaire and Ginger Rogers musicals" and says that, although the screenplay is contrived, it "left plenty of room for dance and all of it was superb. ... Although the movie is remembered as one of the great dance musicals, it also boasts one of the best film scores of the 1930s."<ref>Hischak, Thomas. [http://www.oxfordreference.com/views/ENTRY.html?subview=Main&entry=t282.e1770 "Swing Time"]. ''The Oxford Companion to the American Musical'', Oxford University Press 2009. Oxford Reference Online, accessed May 15, 2010  (requires subscription)</ref>  For the 1936 film version of ''Show Boat'', Kern and Hammerstein wrote three new songs, including "I Have The Room Above Her" and  "Ah Still Suits Me".<ref name=baker/>  ''[[High, Wide, and Handsome]]'' (1937) was intentionally similar in plot and style to ''Show Boat'', but it was a box-office failure.  Kern songs were also used in the [[Cary Grant]] film, ''[[When You're in Love (film)|When You're in Love]]'' (1937), and the first [[Abbott and Costello]] feature, ''[[One Night in the Tropics]]'' (1940).  In 1940, Hammerstein wrote the lyric "[[The Last Time I Saw Paris (song)|The Last Time I Saw Paris]]", in homage to the French capital, recently occupied by the Germans.  Kern set it, the only time he set a pre-written lyric, and his only hit song not written as part of a musical.<ref name=nyt/> Originally a hit for [[Tony Martin (entertainer)|Tony Martin]] and later for [[Noël Coward]], the song was used in the film ''[[Lady Be Good (1941 film)|Lady Be Good]]'' (1941) and won Kern another Oscar for best song.  Kern's second and last symphonic work was his '[[Mark Twain]] Suite'' (1942).<ref name=grove/>

In his last [[Cinema of the United States|Hollywood]] musicals, Kern worked with several new and distinguished partners. With [[Johnny Mercer]] for ''[[You Were Never Lovelier]]'' (1942), he contributed "a set of memorable songs to entertain audiences until the plot came to its inevitable conclusion".<ref>Hischak, Thomas [http://www.oxfordreference.com/views/ENTRY.html?subview=Main&entry=t282.e1995 "You Were Never Lovelier"], ''The Oxford Companion to the American Musical'', Oxford University Press 2009, Oxford Reference Online, accessed May 15, 2010  (requires subscription)</ref> The film starred Astaire and [[Rita Hayworth]] and included the song "[[I'm Old Fashioned]]".  Kern's next collaboration was with [[Ira Gershwin]] on ''[[Cover Girl (film)|Cover Girl]]'' starring Hayworth and [[Gene Kelly]] (1944) for which Kern composed "Sure Thing","Put Me to the Test," "Make Way for Tomorrow" (lyric by [[E. Y. Harburg]]), and the hit ballad "[[Long Ago (and Far Away)]]".<ref name=HCover>Hischak, Thomas. [http://www.oxfordreference.com/views/ENTRY.html?subview=Main&entry=t282.e416 "Cover Girl"]. ''The Oxford Companion to the American Musical'', Oxford University Press 2009. Oxford Reference Online, accessed May 15, 2010 (requires subscription)</ref> For the [[Deanna Durbin]] Western musical, ''[[Can't Help Singing]]'' (1944), with lyrics by Harburg, Kern "provided the best original score of Durbin's career, mixing operetta and Broadway sounds in such songs as 'Any Moment Now,' 'Swing Your Partner,' 'More and More,' and the lilting title number."  "More and More" was nominated for an Oscar.<ref>Hischak, Thomas. [http://www.oxfordreference.com/views/ENTRY.html?subview=Main&entry=t282.e297 "Can't Help Singing"]. ''The Oxford Companion to the American Musical'', Oxford University Press 2009. Oxford Reference Online, accessed May 15, 2010  (requires subscription)</ref>

Kern composed his last film score, ''[[Centennial Summer]]'' (1946) in which "the songs were as resplendent as the story and characters were mediocre. ... Oscar Hammerstein, [[Leo Robin]], and E. Y. Harburg contributed lyrics for Kern's lovely music, resulting in the soulful ballad 'All Through the Day,' the rustic 'Cinderella Sue,' the cheerful 'Up With the Lark,' and the [[Torch song|torchy]] 'In Love in Vain.'"  "All Through the Day" was another Oscar nominee.<ref>Hischak, Thomas. [http://www.oxfordreference.com/views/ENTRY.html?subview=Main&entry=t282.e335 "Centennial Summer"]. ''The Oxford Companion to the American Musical'', Oxford University Press 2009, Oxford Reference Online, accessed May 15, 2010 (requires subscription)</ref>  The music of Kern's last two films is notable in the way it developed from his earlier work. Some of it was too advanced for the film companies; Kern's biographer, [[Stephen Banfield]], refers to "tonal experimentation ... outlandish enharmonics" that the studios insisted on cutting.<ref>Banfield, p. 302</ref>  At the same time, in some ways his music came full circle: having in his youth helped to end the reigns of the waltz and operetta, he now composed three of his finest waltzes ("Can't Help Singing", "Californ-i-ay" and "Up With the Lark"), the last having a distinctly operetta-like character.<ref>Banfield, pp. 292–93</ref>

===Personal life and death===
[[Image:TillCloudsRollBy01.jpg|thumb|right|[[Lena Horne]] sings "Can't Help Lovin' Dat Man" in ''[[Till the Clouds Roll By]]''.]]
Kern and his wife, Eva, often vacationed on their yacht ''Show Boat''.  He collected rare books and enjoyed betting on horses.<ref>[http://www.nndb.com/people/262/000165764/ Jerome Kern] {{Webarchive|url=https://web.archive.org/web/20200531065122/http://www.nndb.com/people/262/000165764/ |date=May 31, 2020 }} at the NNDB database, accessed May 17, 2010</ref>  At the time of Kern's death, [[Metro-Goldwyn-Mayer]] was filming a fictionalized version of his life, ''[[Till the Clouds Roll By]]'', which was released in 1946 starring [[Robert Walker (actor, born 1918)|Robert Walker]] as Kern.<ref>''The Times'', February 7, 1947, p. 8</ref>  In the film, Kern's songs are sung by [[Judy Garland]], [[Kathryn Grayson]], [[June Allyson]], [[Lena Horne]], [[Dinah Shore]], [[Frank Sinatra]] and [[Angela Lansbury]], among others, and [[Gower Champion]] and [[Cyd Charisse]] appear as dancers.<ref>[https://archive.org/details/till_the_clouds_roll_by "''Till the Clouds Roll By''"], credits, Internet Archive, accessed June 4, 2013</ref>  Many of the biographical elements are fictionalized.<ref>[https://www.rottentomatoes.com/m/till_the_clouds_roll_by/  "''Till the Clouds Roll By''"] {{Webarchive|url=https://web.archive.org/web/20200731165045/https://www.rottentomatoes.com/m/till_the_clouds_roll_by |date=July 31, 2020 }}, Rotten Tomatoes,  accessed June 4, 2013</ref>

In the fall of 1945, Kern returned to New York City to oversee auditions for a new revival of ''Show Boat'', and began to work on the score for what would become the musical ''[[Annie Get Your Gun (musical)|Annie Get Your Gun]]'', to be produced by Rodgers and Hammerstein. On November 5, 1945, at 60 years of age, he suffered a [[cerebral hemorrhage]] while walking at the corner of Park Avenue and 57th Street.<ref>Sleeve notes, Atlantic LP ALS 409 "George Byron Sings Jerome Kern", 1952</ref>  Identifiable only by his [[ASCAP]] card, Kern was initially taken to the indigent ward at City Hospital, later being transferred to Doctors Hospital in Manhattan. Hammerstein was at his side when Kern's breathing stopped. Hammerstein hummed or sang the song "I've Told Ev'ry Little Star" from ''Music in the Air'' (a personal favorite of the composer's) into Kern's ear. Receiving no response, Hammerstein realized Kern had died.<ref>{{cite book|title=Getting to Know Him: A Biography of Oscar Hammerstein II|author=Hugh Fordin, Stephen Sondheim|year=1995|publisher=Da Capo Press|page=237|isbn=0-306-80668-1|url=https://books.google.com/books?id=jPnW73J9xBMC&pg=PA237}}{{Dead link|date=March 2023 |bot=InternetArchiveBot |fix-attempted=yes }}</ref> Rodgers and Hammerstein then assigned the task of writing the score for ''Annie Get Your Gun'' to the veteran Broadway composer [[Irving Berlin]].<ref name=grove/>

Kern is interred at [[Ferncliff Cemetery]] in [[Westchester County, New York]]. His daughter, Elizabeth "Betty" Jane Kern (1918–1996)<ref>{{Cite news |date=December 25, 1918 |title=Jerry Kern Is a Daddy |pages=19 |work=New York Clipper |url=https://idnc.library.illinois.edu/?a=d&d=NYC19181225.2.80&srpos=3&e=-------en-20--1--img-txIN-%22Jerry+Kern%22--------- |access-date=April 1, 2023 |archive-date=April 2, 2023 |archive-url=https://web.archive.org/web/20230402010543/https://idnc.library.illinois.edu/?a=d&d=NYC19181225.2.80&srpos=3&e=-------en-20--1--img-txIN-%22Jerry+Kern%22--------- |url-status=live }}</ref> married [[Artie Shaw]] in 1942 and later [[Jack Cummings (director)|Jack Cummings]].<ref name=nyt/> Kern's wife eventually remarried, to a singer named George Byron.<ref>Banfield, p. 14</ref>